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April 06, 2006


steven gerard

While I deeply admire your support of new and different music, I can't help but think your desire to accentuate the positive might leave people with false impressions. Last night's Lysistrata had plenty of cringe-worthy moments, from Jennifer Rivera's lost high note to Emily Pulley's mid to high range, not to mention a score lacking in subtlety or nuance (I'd join Tommasini in raking the orchestration). I think City Opera should be commended for their efforts; I just don't think we should pretend there isn't more to be acheived.

Steve Smith

Thanks for the feedback, Steven. I stick steadfastly by my enthusiasm -- not boosterism -- that Lysistrata is a major achievement. Practically any performance you might name has cringeworthy moments, and last night was no exception, as you rightly point out. That said, far more important to me is the appearance of a new piece of repertoire that is both inherently worthy and also capable of casting contemporary opera in a new light for a larger audience.

And with complete respect to your opinion (and Tommasini's), Adamo's light, glinting score is for me one of the work's prime attractions.

As you say, there is always more to be achieved. I just happen to think that Mark Adamo is among those who will achieve it.


Sounds like VdGG's "Still Life" might be more apropos regarding your blog post!



Henry Holland

Oh, I don't know Csquared, Mr. Gerard's and Mr. Smith's differing opinions bring to mind this from the great VDGG song Killers from the aforementioned H to He: "Cos you can't have two killers/living in the same pad". :-)

No opera performance is perfect, there's always a clam or two or six. It's the overall effect that I look for, though.

I'd love to hear Adamo's score; I missed the NPR broadcast, so I guess I'll have to wait for the inevitable CD release. Unless someone knows a BitTorrent site that deals in live opera recordings.....

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